AS self-proclaimed “giddy kids” upon their 2006 conception, Mancunian indie-pop four-piece The Answering Machine have embarked on gigs in Japan, America and headlined UK tours but for now they’re looking closer to home for their kicks.
On meeting the former University of Manchester students in the cool, vintage-looking Common, in the city’s Northern Quarter, there’s a definite sense of self assurance on the eve of the release of their second album ‘Lifeline’.
A band from humble beginnings, who fit right into the bare brick, cosmopolitan backdrop with instruments in hand, fresh from practice at a nearby rehearsal studio, they still carry that approachable image from their early days.
Initially started by lead singer Martin Colclough and guitarist Pat Fogarty, the group soon took shape with the addition of bassist Gemma Evans and a battered drum machine nicknamed ‘Mustafa Beats’ five years ago.
Before long the skinny jean-clad, indie trio were being tipped for big things, yet only after being courted and dropped by a major record label before ever signing up did they finally hook up with DIY specialists, Heist or Hit Records.
Martin explains: “We didn’t have the drive to be like this self sufficient indie band, it was more a case of wanting to be successful and we thought the answer was a label giving you money and buying you the tour you need and all this.
“We understand now it’s a lot more about hard work but I guess it taught us a lesson, it’s a self fulfilling prophecy, if you want a sold out show in Manchester you have to work hard for it.”
The group, who self-produce their work, also self-promote and even are integral to the running of their London-based label.
Mustafa was soon binned under Heist’s tutorship and drummer Ben Perry filled the gap that the electronic enigma had left, before the band finally released their debut album, ‘Another City, Another Sorry’.
Sat crowded round a small coffee table, the group remain fully aware of the pitfalls that come with the kind of hype that they received.
Timid drummer Ben continues: “The first album’s definitely something to be proud of but it’s mad when you see bands come through and get the hype that we did, get loads of support from the media and then the next minute they’ve split.”
Pat weighs in: “It’s weird to think when we’ve got friends on major labels, the whole expectation of what you are basically all of a sudden is not about writing the best pop or whatever.
“It becomes about how many gigs you sell out, how many units you’ve shipped and if you chart.”
And it wasn’t long before the music press began to categorise and pigeon hole the foursome as Wombats-esque, although they actually started out at much the same time, something which doesn’t seem to sit terribly well with the group.
“It’s fair to say that they used what they had more to their advantage than we did, we were quite humble and happy with what we had whereas we didn’t really see the money making side,” Pat explains.
“I suppose it is upsetting to see that maybe some of their fans could also be our fans but they might not get the chance to hear us, but we’re not bitter at all as it’s no fault of their own.”
Charmingly down to earth, the group let the conversation flow and jump in whenever they feel the urge. These aren’t giddy kids anymore that’s for sure, as they settle into conversation about ‘Lifeline’, which was launched at The Deaf Institute last week.
Self-penned and produced, the 11 track ‘Lifeline’ album is an upbeat collection of mellow indie-pop anthems which the band claim is much more personal to them than its predecessor.
Slurping his drink through a straw, outspoken Pat adds: “There was no point in doing an album just like the last one, so this time we brought instruments in that we haven’t used before.
“Next time it could have other electronic influences or we could go down another route,” before Martin interrupts, laughing: “Operatic? or aborigine?”
Now it remains to be seen whether aborigine indie-pop takes off but there is a certain optimism about the band and their new album, particularly as Mustafa Beats has made a cameo appearance from beyond the bin.
Gemma explains: “The way I always describe it is mature sounding. We were 20 when we wrote a lot of the songs in the first album and we’re all around 25/ 26 now.”
Yet despite having supported bands like The Manic Street Preachers, The Rumble Strips and Tokyo Police Club as well as having played with their Mancunian friends The Charlatans, the grounded four-piece still get star struck.
“For me when we toured with the Manics, James Dean Bradfield didn’t really make me star struck like you might expect but Nicky Wise just had this thing about him,” Gemma grinningly reminisces.
“I mean I didn’t even grow up as a big Manics fan but even I was like ‘Yeah that’s pretty cool’.”
In fact The Answering Machine have also become synonymous with video game, FIFA 10, after their song ‘It’s Over! It’s Over! It’s Over!’ featured on the game’s soundtrack, but that is no measure of success for the group.
Martin adds: “I don’t think we’re driven by commercial success as such, we just want the right kind of people to enjoy us, a credibility I guess, that’s all we strive for really.”
Slurping up the dregs of their assorted drinks, everything from a rock and roll mid-afternoon beer to a less so vimto, the eclectic collective have little in the way of a master plan. If anything it’s more of a dream lifestyle that they aspire to.
“We do enjoy going on tour and stuff but that’s not what drives you, it’s all about writing that sound or writing that album,” Martin explains.
“Once we’ve put together ‘Lifeline’ it justifies that lifestyle and that travel around Europe and all that, but that’s another dream.”
The Answering Machine’s second album, ‘Lifeline’, is released on February 21st before they play at Manchester’s Sound Control on March 24th.
Also published on www.thenatter.co.uk.
http://www.thenatter.co.uk/2011/02/answering-the-hero-worship-call/
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